In my art, I concentrate on human beings. My curiousity about the world and people ruling it is of dichotomic nature: success, wealth and royal splendourare juxtaposed with poverty, helplessness and homelessness. The integration of people having fun clashes with the loneliness of an individual in an isolation ward. The superficial seductive charm gets juxtaposed with the ugliness of the protagonists, the detectable depth of experience borders on the superficiality of behaviour. Even the means of artistic expression_ are twofold, the paintings with their intense, bright colours are presented next to black and white compositions, where my meticulous attention to detail conflicts with my approach to situations, problems and objects. The artist emphasises that I am devoid of criticism. Neither do I point out flaws nor judges mistakes. I aim at understanding the motives of others. My work reflects the time in which I live, exposing the superficiality of many phenomena, reveals the inherent systems and imposed criteria determining manners and customs. Like the majority of contemporary artists, my painterly skills get supported by photography. I like painting portraits, including self-portraits. Next to famous people like Czesław Miłosz, Marek Edelman, Queen Elisabeth II or Prince Charles I would also paint an homeless vagrant. The artist does not renounce the work of the great painters, on the contrary, I consciously use the well-known repertoire of forms and signs, quoting them cunningly in my own painterly space. My idol is Gerhard Richter whom I consider having reached the level of the highest initiation. I am under the spell of the magic of his work and highly evaluates all statements by this versatile artist. My admiration gets translated into my own painterly language, sometimes using - like in Genesis of 2013 a€blurring and softening of a figure's contour, characteristic for Richter.

Genesis is a subtle and sensitive story about the relationship between mother and child, the original instinct of maternity which is always present in the life of a woman. Their compostion reminds of the way it was treated in Gothic art and the circle of so-called Master of Beautiful Madonnas. We recognise a similar stylization characterised by glamour, peculiar lyricism and idealisation. Even the way of holding a child or sofly formed fabric of the dress are references to the canon of medieval beauty. The first works of the Carousel cycle were inspired by a poem by Czesław Miłosz „Campo di Fiori” which the Polish Nobel Prize winner wrote in Easter 1943. The date of the poem coincides with the dramatic battle into the Warsaw ghetto. On the other side of the ghetto wall, following the order of the Nazis, a carousel was placed, so that joyful and rhythmical music would drown out the sounds of the Jewish uprising. Two worlds cunningly juxtaposed - people enjoying themselves on one side and people dying, lonely and forgotten, on the other side of the high wall a€were presented in a black-and- white convention. In other paintings of the same cycle, I introduced bright and luminous colours, characteristic for the atmosphere of a funfair, glittering lights. I suceeded in creating the atmosphere of provincial entertainement, suggestively conveying the circular movement of this tawdry and flowery machine which takes the participants of this fun onto the whirling rhythm of their ride of different intensity. Looking at this fairy-tale world and people going up and then falling down, we interpret its message as a story about our fate, of which unforseen ways leave us in constant tension and lack of stability. Those paintings makes us realize how much undefined is the carousel of life in which we live, where everything is fluid and uncertain, and when it gets subjected to running round in circles it looses its shape and equilibrium. Hence, we loose our contours and get lost in the muddled, complicated and uncertain world.